OPERA America draws on resources and expertise from within and beyond the opera field to advance a mutually beneficial agenda that serves and strengthens the field through programs in the following categories:

Creation: Artistic services that help artists and companies increase the creativity and excellence of opera productions, especially North American works;

Presentation: Opera company services that address the specific needs of staff, trustees and volunteers;

Enjoyment: Education, audience development and community services that increase all forms of opera appreciation.

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In response to the pressing need for appropriate space in New York by members who suffered from the lack of good audition and work facilities in the city, OPERA America created the National Opera Center. The Opera Center serves many functions that support the artistic and economic vitality of the field by providing its constituents with a range and level of services never before possible.

OPERA America serves members across the entire opera field through research, publications and services in support of the creation, performance and enjoyment of opera. Our work is only possible with the generous support of donors dedicated to the future of opera in America.

Editor's Note: Aria Talk focuses not on the tried-and-true pieces you undoubtedly already know, but on somewhat off-the-beaten-track arias. The hope is that this music will prove a refreshing musical and interpretive change not only for you, the performer, but also for those hearing you in auditions.

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Any tenor, regardless of weight of voice, needs to be able to sing with beautiful line. Yes, much of Ghermann in The Queen of Spades may be heavily declamatory — the big legato numbers go to the soprano and the lyric baritone — but there is a superb arioso in the first scene. It's a perfect length for auditions, especially if you have a time crunch. Give this a try if you have the right weight of voice for it and you're ready and able to sing acceptable Russian.

Ghermann's opening scene contains his most dramatic and most lyrical music. The latter is the arioso, which he sings shortly after first appearing onstage. A soldier, Ghermann is a friend of the officers Chekalinsky and Surin, who previously were commenting that he was at the gaming tables all the preceding night, watching the others play, never playing himself, yet clearly obsessed. He's initially reluctant to say anything about this. Another friend, Count Tomsky, comments that he's changed. Ghermann then reveals that he's in love. He doesn't even know the girl's name, yet he's tortured and already jealous that she might be loved by someone else.

Any of you who sing Lensky will recognize the composer of that character's first-act aria here. But the sound for Ghermann needs significantly more heft than for Lensky, with a fine sweep and broadness in the second half of this arioso, especially for the climax (a high A — this music should pose no problems in terms of range or tessitura). Tchaikovsky makes it easier than many composers to combine legato with clearly articulated words. As is so often the case with Tchaikovsky, any trace of vocal ornament would seem out of place; what matters is to sculpt straightforwardly structured phrases with directness and true expressiveness.

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All OPERA America facilities are handicapped accessible. The National Opera Center features ground-level entry with elevators to the venue. All spaces are wheelchair accessible, and modular seating can be arranged to accommodate wheelchair users for all programs and performances. Handicapped accessible restrooms are available on all floors.